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	<img src="../img/logo.png"><h1>阅读测评(共2题)</h1>
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	PASSAGE 1
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	<div class="testanswer">	
	<p>
	The Native Americans of northern California were highly skilled at basketry, using the reeds, grasses, barks, and roots they found around them to <font color="#f60"><U><B>fashion</B></U></font> articles of all sorts and sizes — not only trays, containers, and cooking pots, but hats, boats, fish traps, baby carriers, and ceremonial objects.
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	<p>
    Of all these experts, none excelled the Pomo — a group who lived on or near the coast during the 1800's, and whose descendants continue to live in parts of the same region to this day. They made baskets three feet in diameter and others no bigger than a thimble. The Pomo people were masters of decoration. Some of their baskets were completely covered with shell pendants; <font color="#f60"><U><B>others</B></U></font> with feathers that made the baskets' surfaces as soft as the breasts of birds. Moreover, the Pomo people made use of more weaving techniques than did their neighbors. Most groups made all their basketwork by twining — the twisting of a flexible horizontal material, called a weft, around stiffer vertical strands of material, the warp. Others depended primarily on coiling — a process in which a continuous coil of stiff material is held in the desired shape with tight wrapping of flexible strands. Only the Pomo people used both processes with equal ease and frequency. In addition, they made use of four distinct variations on the basic twining process, often employing more than one of them in a single <font color="#f60"><U><B>article</B></U></font>.
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	<p>
    Although a wide variety of materials was available, the Pomo people used only a few. The warp was always made of willow, and the most commonly used weft was sedge root, a woody fiber that could easily be separated into strands no thicker than a thread. For color, the Pomo people used the bark of redbud for their twined work and dyed bullrush root for black in coiled work. Though other materials were sometimes used, these four were the <font color="#f60"><U><B>staples</B></U></font> in their finest basketry.
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    <p>
    If the basketry materials used by the Pomo people were limited, the designs were amazingly varied. Every Pomo basketmaker knew how to produce from fifteen to twenty <font color="#f60"><U><B>distinct</B></U></font> patterns that could be combined in a number of different ways. 
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	Question 1. What best distinguished Pomo baskets from baskets of other groups?
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		<input type="radio" name="ques1" value="A" /><label>A. The range of sizes, shapes, and designs</label><br />
		<input type="radio" name="ques1" value="B" /><label>B. The unusual geometric</label><br />
		<input type="radio" name="ques1" value="C" /><label>C. The absence of decoration</label>
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	Question 2. The word "<font color="#f60"><U>fashion</U></font>" is closest in meaning to
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		<input type="radio" name="ques2" value="A"/><label>A. maintain</label>
		<input type="radio" name="ques2" value="B"/><label>B. organize</label>
		<input type="radio" name="ques2" value="C"/><label>C. create</label>
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	Question 3. The Pomo people used each of the following materials to decorate baskets EXCEPT
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		<input type="radio" name="ques3" value="A"/><label>A.shells</label>
		<input type="radio" name="ques3" value="B"/><label>B.feathers</label>
		<input type="radio" name="ques3" value="C"/><label>C.leaves</label>
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	Question 4. What is the author's main point in the second paragraph?
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		<input type="radio" name="ques4" value="A"/><label>A. The neighbors of the Pomo people tried to improve on the Pomo basket weaving techniques.</label><br />
		<input type="radio" name="ques4" value="B"/><label>B. The Pomo people were the most skilled basket weavers in their region.</label><br />
		<input type="radio" name="ques4" value="C"/><label>C. The Pomo people learned their basket weaving techniques from other Native Americans.</label>
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	Question 5. The word "<font color="#f60"><U>others</U></font> " refers to
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		<input type="radio" name="ques5" value="A"/><label>A. masters</label>
		<input type="radio" name="ques5" value="B"/><label>B. baskets</label>
		<input type="radio" name="ques5" value="C"/><label>C. pendants</label>
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	PASSAGE 2
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	<p>
	The term "Hudson River school" was applied to the foremost representatives of nineteenth-century North American landscape painting. Apparently unknown during the golden days of the American landscape movement, which began around 1850 and lasted until the late 1860's, the Hudson River school seems to have emerged in the 1870's as a direct result of the <font color="#f60"><U><B>struggle</B></U></font> between the old and the new generations of artists, each to assert its own style as the representative American art. The older painters, most of whom were born before 1835, practiced in a mode often self-taught and <font color="#f60"><U><B>monopolized</B></U></font> by landscape subject matter and were securely established in and fostered by the reigning American art organization, the National Academy of Design. The younger painters returning home from training in Europe worked more with figural subject matter and in a bold and impressionistic technique; their prospects for patronage in their own country were uncertain, and they sought to attract <font color="#f60"><U><B>it</B></U></font> by attaining academic recognition in New York. One of the results of the conflict between the two <font color="#f60"><U><B>factions</B></U></font> was that what in previous years had been referred to as the "American", "native", or, occasionally, "New York" school — the most representative school of American art in any genre — had by 1890 become firmly established in the minds of critics and public alike as the Hudson River school.
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	<p>
    The sobriquet was first applied around 1879. While it was not intended as <font color="#f60"><U><B>flattering</B></U></font>, it was hardly inappropriate. The Academicians at whom it was aimed had worked and socialized in New York, the Hudson's port city, and had painted the river and its shores with varying frequency. Most important, perhaps, was that they had all maintained with a certain fidelity a manner of technique and composition consistent with those of America's first popular landscape artist, Thomas Cole, who built a career painting the Catskill Mountain scenery bordering the Hudson River. A possible implication in the term applied to the group of landscapists was that many of them had, like Cole, lived on or near the banks of the Hudson. Further, the river had long served as the principal route to other sketching grounds favored by the Academicians, particularly the Adirondacks and the mountains of Vermont and New Hampshire. 
    </p>
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	Question 1. What does the passage mainly discuss?
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		<input type="radio" name="ques6" value="A" /><label>A. The National Academy of Design</label><br />
		<input type="radio" name="ques6" value="B" /><label>B. Paintings that featured the Hudson River</label><br />
		<input type="radio" name="ques6" value="C" /><label>C. North American landscape paintings</label>
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	Question 2. Before 1870, what was considered the most representative kind of American painting?
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		<input type="radio" name="ques7" value="A"/><label>A. Figural painting</label>
		<input type="radio" name="ques7" value="B"/><label>B. Landscape painting</label>
		<input type="radio" name="ques7" value="C"/><label>C. Impressionistic painting</label>
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	Question 3. The word "<font color="#f60"><U>struggle</U></font>" is closest in meaning to
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		<input type="radio" name="ques8" value="A"/><label>A.connection</label>
		<input type="radio" name="ques8" value="B"/><label>B.distance</label>
		<input type="radio" name="ques8" value="C"/><label>C.competition</label>
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	Question 4. The word "<font color="#f60"><U>monopolized</U></font>" is closest in meaning to
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		<input type="radio" name="ques9" value="A"/><label>A. alarmed</label>
		<input type="radio" name="ques9" value="B"/><label>B. dominated</label>
		<input type="radio" name="ques9" value="C"/><label>C. repelled</label>
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<div class="testcontent">
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	Question 5. According to the passage , what was the function of the National Academy of Design for the painters born before 1835?
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		<input type="radio" name="ques10" value="A"/><label>A. It mediated conflicts between artists.</label><br />
		<input type="radio" name="ques10" value="B"/><label>B. It supervised the incorporation of new artistic techniques.</label><br />
		<input type="radio" name="ques10" value="C"/><label>C. It supported their growth and development.</label>
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